$15
Yale in New York
w/ music of Timothy Andres, Christopher Cerrone, Jacob Cooper, Ted Hearne, and Robert Honstein
w/ music of Timothy Andres, Christopher Cerrone, Jacob Cooper, Ted Hearne, and Robert Honstein
Mon., October 11, 2010 / 6:30 PM
Audio / Video
Gallery
About This Event
Minimum Age:
All AgesDoors Open:
6:30 PMShow Time:
7:30 PMDescription:
A collective of five emerging New York-based composers, Sleeping Giant is “rapidly gaining notice for their daring innovations, stylistic range and acute attention to instrumental nuance” (WQXR). On their second concert, Sleeping Giant presents a broad sampling of recent instrumental and vocal works that prize vitality over a rigid aesthetic.
This is a first come seated event. Seating is limited and not guaranteed; please arrive early.
This is a first come seated event. Seating is limited and not guaranteed; please arrive early.
Artists
Yale in New York
music of Timothy Andres, Christopher Cerrone, Jacob Cooper, Ted Hearne, and Robert Honstein
Timothy Andres: bio
Timothy Andres (b. 1985, Palo Alto, CA) is a composer and pianist. He grew up in rural Connecticut and lives in New York City. His compositions meld a classical-music upbringing with diverse interests in the natural world, graphic arts, technology, cooking, and photography. He has been praised for his “acute ear” by the New York Times’s Anthony Tommasini and “stubborn nose” by the New Yorker’s Alex Ross.
An avid pianist from an early age, Timothy (Timo for short) performs widely, focusing especially on music by his contemporaries. “New music cannot be intimidating when played with this degree of skill and zest,” proclaimed Boston Globe critic Richard Dyer of a recent concert. Eleanor Hancock was his piano teacher for many years; later, he studied with Frederic Chiu, Boris Berman and Elisabeth Parisot.
Timo’s début album, Shy and Mighty, was released in May 2010 on Nonesuch. The disc comprises ten interrelated pieces for two pianos, performed by co-pianist David Kaplan and the composer. Shy and Mighty has been an immediate critical success; Alex Ross wrote in the New Yorker that “the music achieves an unhurried grandeur that has rarely been felt in American music since John Adams came on the scene… more mighty than shy, [Andres] sounds like himself.” Andres will perform sections from the work with pianist Brad Mehldau at Zankel Hall next March.
Recent commissions include new works for Metropolis Ensemble, an octet for members of New World Symphony, a violin/viola concerto for Owen Dalby and the Albany Symphony, and a chamber orchestra work for the Los Angeles Philharmonic, conducted by John Adams. The coming season will feature new pieces for Ensemble ACJW and the ACME quartet, among others.
Timo earned both his bachelor’s and master’s degrees from Yale. He first studied composition during high school, at Juilliard’s Pre- College division (with Eric Ewazen) and has since worked with Martin Bresnick, Ingram Marshall, Aaron Jay Kernis, Chris Theofanidis, John Halle, Matthew Suttor, Kathryn Alexander, Michael Klingbeil, and Orianna Webb. Eleanor Hancock was his piano teacher for many years; later, he studied with Frederic Chiu, Boris Berman and Elisabeth Parisot. He has received awards from the American Academy of Arts and Letters, BMI, and ASCAP, as well as grants from Meet the Composer and the American Music Center.
www.andres.com
Timothy Andres: program notes
When the violinist Wendy Sharp asked me for a new piece, I knew I wanted to write something about pedagogy. Wendy’s life is devoted to teaching other people, from the tiniest of babies to the surliest of graduate students, about playing and understanding music.
The violin is the instrument with the second-best repertoire to choose from, after the piano. Despite this, young violinists (and this seems to be the same all over the world) endure years of studying what could kindly be called “pedagogical” literature. This is the music you work on before you’re to be trusted with a Brahms sonata, and it was mostly written by other violinists expressly for that purpose. As a former accompanist to many of Wendy’s students and an older brother to one, I’ve learned much of this sub-genre by proxy.
Clamber Music is a free set of variations on a theme, in reverse (each successive section bears more relation to the theme). The theme in question is an amalgamation of the sublime and the somewhat less sublime: Schubert’s Moments Musicaux no. 2, and Johan Svendsen’s Romance in G. I’ve always mentally associated the two because they share the same first four notes. The end of the piece is a kind of Gradus ad Parnassum, though also in reverse.
Chris Cerrone: bio
Christopher Cerrone’s music has been heard across the US and Europe, most recently at the John F. Kennedy Center for Performing Arts and at NYU's Skirball Center. His violin concerto, Still Life with Violin and Orchestra, commissioned by the New York Youth Symphony, will be premiered this spring by violinist Hahn-Bin at Carnegie Hall. His music has been performed by New York City Opera, the Orchestre National de Lorraine, the Virginia Arts Festival, the Yale Institute for Music Theatre, the Manhattan Composers' Orchestra and the Yale Philharmonia, among others, and he is co-artistic director and composer-in-residence for the New York City-based ensemble Red Light New Music. He recently received a 2010 ASCAP Morton Gould Award, a CAP Grant from the American Music Center, and the Ezra Laderman Prize from the Yale School of Music. He is currently pursuing his doctorate at Yale University, where he also taught music composition and electronic music.
www.christophercerrone.com
Chris Cerrone: program notes
Averno: A Fragment is the composer's exploration of poet Louise Glück's intense and introspective poem "Fugue." Scored for the unusual ensemble of bass flute, bass clarinet, percussion, "bowed" piano, viola, cello, double bass, and two singers, a soprano and a mezzo soprano, the piece is creates a musical analog to Glück visceral imagery.
Jacob Cooper: bio
Jacob Cooper’s diverse compositions have earned him a Morton Gould Award from ASCAP, a Charles Ives Scholarship from the American Academy of Arts and Letters, and a grant from the American Music Center’s Composer Assistance Program. He has held fellowships and residencies at the Bang on a Can Summer Institute, the Banff Centre for the Arts, and twice at the Atlantic Center for the Arts, as a composer and most recently as a video artist. His music has been performed by several ensembles across the continent, including the JACK Quartet, the NOW Ensemble, and the Minnesota Orchestra, and his works have appeared at the Wordless Music concert series at the Miller Theater in New York and at the Harold Golen Gallery in Miami. Timberbrit, Jacob’s opera about a fictional reunion between Britney Spears and Justin Timberlake, has been featured on NPR’s All Things Considered and runs this November on the Incubator Arts series at St. Mark’s Church.
http://www.jacobcoopermusic.com
Jacob Cooper, Program notes for Cello Octet I’ve always thought of myself as a composer who gets too bored with any musical style to revisit it often; for a while my body of work seemed to lie somewhere between the polystylistic and the unfocused. But over the past couple years, my compositional process has nearly always started by slowing down pre-existing music to a fraction of its speed, and as I started to write my Cello Octet, I found I was not ready to abandon this technique. For the first time, however, my own composition—a fragment of an orchestral piece—serves (self-indulgently) as the kernel that is temporally stretched. And, perhaps also for the first time, at no point does the new piece clearly sound like a slowed-down version of the original. While composing the Octet I instead became intrigued with revolving the music around a protracted downward glissando, with the celli starting in unison and descending at different rates; and ultimately the only resemblance to the original orchestral work lies in a fleeting harmony that materializes along the way.
Ted Hearne: bio
A native of Chicago, Ted Hearne (born 1982) is a composer, conductor and performer of new music. His work Katrina Ballads is the recipient of the 2009 Gaudeamus Prize in composition and will be heard this summer in a new production featuring film by renowned director Bill Morrison and on a new record to be released by New Amsterdam Records and distributed by Naxos of America.
Hearne’s music has been performed by the Minnesota Orchestra, the Calder Quartet, The Knights, and the New York City Opera and has been heard at the MATA Festival, the Bang on a Can Marathon, Carlsbad Music Festival, and Le Poisson Rouge’s Sleeping Giant. Hearne has received commissions from Chicago's Third Coast Percussion, San Francisco's Volti Choral Arts Laboratory, Charleston's New Music Collective, Newspeak, the Huntsville Symphony, and the Albany Symphony. His work was recently praised by Allan Kozinn of The New York Times as “fresh and muscular.”
Hearne is the artistic director of Yes is a World and resident conductor of Red Light New Music and was composer-in-residence of the Chicago Children's Choir for five years. He served as music director for the premieres of David Lang’s opera Anatomy Theatre (performed by ICE in 2005), Michael Gordon’s Lightning at our Feet (at the BAM Next Wave Festival in 2008), and Bryan Senti's From the margins, this, unmentioned (at the Brooklyn Lyceum in 2009). Hearne received the 2008 Charles Ives Scholarship from the American Academy of Arts and Letters and was an artist in residence at the MacDowell Colony in the autumn of 2009. Upcoming commissions include works for the Dither Electric Guitar Quartet and the Toomai String Quintet and a work for the Yale Glee Club and Yale Symphony Orchestra to be premiered at Carnegie Hall in April 2011.
tedhearne.com
Rob Honstein: bio
Robert Honstein (b. 1980, Syracuse, NY) is a Brooklyn based composer. His music has been performed by the Albany Symphony Orchestra, the Cabrillo Festival Orchestra, the Yale Philharmonia, the Bard College Orchestra, Simon Carrington, the Fireworks Ensemble, and the Young New Yorkers Chorus. Recently, Robert co-founded the Correction Line Ensemble, a group of six musicians from both pop and classical backgrounds who present music spanning a wide range of styles and genres. In November Correction Line will tour Canada playing shows in Winnipeg, Edmonton, Calgary, Toronto and Montreal. Other projects include a clarinet concerto for Anthony McGill and the New York Youth Symphony to be premiered in December at Carnegie Hall, and the production of FastForwardAustin, a new one-day festival for innovative music and art in Austin, TX.
For more info and music check out his website at http://www.roberthonstein.com
Timothy Andres (b. 1985, Palo Alto, CA) is a composer and pianist. He grew up in rural Connecticut and lives in New York City. His compositions meld a classical-music upbringing with diverse interests in the natural world, graphic arts, technology, cooking, and photography. He has been praised for his “acute ear” by the New York Times’s Anthony Tommasini and “stubborn nose” by the New Yorker’s Alex Ross.
An avid pianist from an early age, Timothy (Timo for short) performs widely, focusing especially on music by his contemporaries. “New music cannot be intimidating when played with this degree of skill and zest,” proclaimed Boston Globe critic Richard Dyer of a recent concert. Eleanor Hancock was his piano teacher for many years; later, he studied with Frederic Chiu, Boris Berman and Elisabeth Parisot.
Timo’s début album, Shy and Mighty, was released in May 2010 on Nonesuch. The disc comprises ten interrelated pieces for two pianos, performed by co-pianist David Kaplan and the composer. Shy and Mighty has been an immediate critical success; Alex Ross wrote in the New Yorker that “the music achieves an unhurried grandeur that has rarely been felt in American music since John Adams came on the scene… more mighty than shy, [Andres] sounds like himself.” Andres will perform sections from the work with pianist Brad Mehldau at Zankel Hall next March.
Recent commissions include new works for Metropolis Ensemble, an octet for members of New World Symphony, a violin/viola concerto for Owen Dalby and the Albany Symphony, and a chamber orchestra work for the Los Angeles Philharmonic, conducted by John Adams. The coming season will feature new pieces for Ensemble ACJW and the ACME quartet, among others.
Timo earned both his bachelor’s and master’s degrees from Yale. He first studied composition during high school, at Juilliard’s Pre- College division (with Eric Ewazen) and has since worked with Martin Bresnick, Ingram Marshall, Aaron Jay Kernis, Chris Theofanidis, John Halle, Matthew Suttor, Kathryn Alexander, Michael Klingbeil, and Orianna Webb. Eleanor Hancock was his piano teacher for many years; later, he studied with Frederic Chiu, Boris Berman and Elisabeth Parisot. He has received awards from the American Academy of Arts and Letters, BMI, and ASCAP, as well as grants from Meet the Composer and the American Music Center.
www.andres.com
Timothy Andres: program notes
When the violinist Wendy Sharp asked me for a new piece, I knew I wanted to write something about pedagogy. Wendy’s life is devoted to teaching other people, from the tiniest of babies to the surliest of graduate students, about playing and understanding music.
The violin is the instrument with the second-best repertoire to choose from, after the piano. Despite this, young violinists (and this seems to be the same all over the world) endure years of studying what could kindly be called “pedagogical” literature. This is the music you work on before you’re to be trusted with a Brahms sonata, and it was mostly written by other violinists expressly for that purpose. As a former accompanist to many of Wendy’s students and an older brother to one, I’ve learned much of this sub-genre by proxy.
Clamber Music is a free set of variations on a theme, in reverse (each successive section bears more relation to the theme). The theme in question is an amalgamation of the sublime and the somewhat less sublime: Schubert’s Moments Musicaux no. 2, and Johan Svendsen’s Romance in G. I’ve always mentally associated the two because they share the same first four notes. The end of the piece is a kind of Gradus ad Parnassum, though also in reverse.
Chris Cerrone: bio
Christopher Cerrone’s music has been heard across the US and Europe, most recently at the John F. Kennedy Center for Performing Arts and at NYU's Skirball Center. His violin concerto, Still Life with Violin and Orchestra, commissioned by the New York Youth Symphony, will be premiered this spring by violinist Hahn-Bin at Carnegie Hall. His music has been performed by New York City Opera, the Orchestre National de Lorraine, the Virginia Arts Festival, the Yale Institute for Music Theatre, the Manhattan Composers' Orchestra and the Yale Philharmonia, among others, and he is co-artistic director and composer-in-residence for the New York City-based ensemble Red Light New Music. He recently received a 2010 ASCAP Morton Gould Award, a CAP Grant from the American Music Center, and the Ezra Laderman Prize from the Yale School of Music. He is currently pursuing his doctorate at Yale University, where he also taught music composition and electronic music.
www.christophercerrone.com
Chris Cerrone: program notes
Averno: A Fragment is the composer's exploration of poet Louise Glück's intense and introspective poem "Fugue." Scored for the unusual ensemble of bass flute, bass clarinet, percussion, "bowed" piano, viola, cello, double bass, and two singers, a soprano and a mezzo soprano, the piece is creates a musical analog to Glück visceral imagery.
Jacob Cooper: bio
Jacob Cooper’s diverse compositions have earned him a Morton Gould Award from ASCAP, a Charles Ives Scholarship from the American Academy of Arts and Letters, and a grant from the American Music Center’s Composer Assistance Program. He has held fellowships and residencies at the Bang on a Can Summer Institute, the Banff Centre for the Arts, and twice at the Atlantic Center for the Arts, as a composer and most recently as a video artist. His music has been performed by several ensembles across the continent, including the JACK Quartet, the NOW Ensemble, and the Minnesota Orchestra, and his works have appeared at the Wordless Music concert series at the Miller Theater in New York and at the Harold Golen Gallery in Miami. Timberbrit, Jacob’s opera about a fictional reunion between Britney Spears and Justin Timberlake, has been featured on NPR’s All Things Considered and runs this November on the Incubator Arts series at St. Mark’s Church.
http://www.jacobcoopermusic.com
Jacob Cooper, Program notes for Cello Octet I’ve always thought of myself as a composer who gets too bored with any musical style to revisit it often; for a while my body of work seemed to lie somewhere between the polystylistic and the unfocused. But over the past couple years, my compositional process has nearly always started by slowing down pre-existing music to a fraction of its speed, and as I started to write my Cello Octet, I found I was not ready to abandon this technique. For the first time, however, my own composition—a fragment of an orchestral piece—serves (self-indulgently) as the kernel that is temporally stretched. And, perhaps also for the first time, at no point does the new piece clearly sound like a slowed-down version of the original. While composing the Octet I instead became intrigued with revolving the music around a protracted downward glissando, with the celli starting in unison and descending at different rates; and ultimately the only resemblance to the original orchestral work lies in a fleeting harmony that materializes along the way.
Ted Hearne: bio
A native of Chicago, Ted Hearne (born 1982) is a composer, conductor and performer of new music. His work Katrina Ballads is the recipient of the 2009 Gaudeamus Prize in composition and will be heard this summer in a new production featuring film by renowned director Bill Morrison and on a new record to be released by New Amsterdam Records and distributed by Naxos of America.
Hearne’s music has been performed by the Minnesota Orchestra, the Calder Quartet, The Knights, and the New York City Opera and has been heard at the MATA Festival, the Bang on a Can Marathon, Carlsbad Music Festival, and Le Poisson Rouge’s Sleeping Giant. Hearne has received commissions from Chicago's Third Coast Percussion, San Francisco's Volti Choral Arts Laboratory, Charleston's New Music Collective, Newspeak, the Huntsville Symphony, and the Albany Symphony. His work was recently praised by Allan Kozinn of The New York Times as “fresh and muscular.”
Hearne is the artistic director of Yes is a World and resident conductor of Red Light New Music and was composer-in-residence of the Chicago Children's Choir for five years. He served as music director for the premieres of David Lang’s opera Anatomy Theatre (performed by ICE in 2005), Michael Gordon’s Lightning at our Feet (at the BAM Next Wave Festival in 2008), and Bryan Senti's From the margins, this, unmentioned (at the Brooklyn Lyceum in 2009). Hearne received the 2008 Charles Ives Scholarship from the American Academy of Arts and Letters and was an artist in residence at the MacDowell Colony in the autumn of 2009. Upcoming commissions include works for the Dither Electric Guitar Quartet and the Toomai String Quintet and a work for the Yale Glee Club and Yale Symphony Orchestra to be premiered at Carnegie Hall in April 2011.
tedhearne.com
Rob Honstein: bio
Robert Honstein (b. 1980, Syracuse, NY) is a Brooklyn based composer. His music has been performed by the Albany Symphony Orchestra, the Cabrillo Festival Orchestra, the Yale Philharmonia, the Bard College Orchestra, Simon Carrington, the Fireworks Ensemble, and the Young New Yorkers Chorus. Recently, Robert co-founded the Correction Line Ensemble, a group of six musicians from both pop and classical backgrounds who present music spanning a wide range of styles and genres. In November Correction Line will tour Canada playing shows in Winnipeg, Edmonton, Calgary, Toronto and Montreal. Other projects include a clarinet concerto for Anthony McGill and the New York Youth Symphony to be premiered in December at Carnegie Hall, and the production of FastForwardAustin, a new one-day festival for innovative music and art in Austin, TX.
For more info and music check out his website at http://www.roberthonstein.com